Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2018-12-19T01:04:04Z No. of bitstreams: 1 LESSA, Rodrigo. O universo transmídia do seriado True Blood (Tese, 2017).pdf: 2791143 bytes, checksum: 2c6efa12b3b0b48b290ae865ed0a5651 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-12-19T17:04:17Z (GMT) No. of bitstreams: 1 LESSA, Rodrigo. O universo transmídia do seriado True Blood (Tese, 2017).pdf: 2791143 bytes, checksum: 2c6efa12b3b0b48b290ae865ed0a5651 (MD5) / Made available in DSpace on 2018-12-19T17:04:17Z (GMT). No. of bitstreams: 1 LESSA, Rodrigo. O universo transmídia do seriado True Blood (Tese, 2017).pdf: 2791143 bytes, checksum: 2c6efa12b3b0b48b290ae865ed0a5651 (MD5) / CAPES / Esta tese de doutorado almejou explorar, tanto teórica quanto metodologicamente, um fenômeno da comunicação contemporânea: os processos de transmidiação de seriados ficcionais no contexto da criação e do consumo no mercado televisivo estadunidense. Chamamos de processos de transmidiação as estratégias e práticas criativas que fazem um conteúdo monomidiático, o seriado televisivo no nosso estudo de caso, percorrer diversas mídias e plataformas comunicacionais. Trata-se da criação de artefatos que se vinculam a um texto de referência, fazendo-o migrar de mídias enquanto simultaneamente alarga seu escopo de significações. O nosso objetivo central foi o de analisar o que chamamos de universo transmídia de True Blood: os textos, paratextos e extensões ficcionais, alocados em múltiplas mídias e plataformas, que se utilizam de diversos formatos e linguagens, e produzidos tanto pelas organizações empresariais quanto pelas organizações dos fãs. Estas peças, arguimos, compõem o complexo emaranhado comunicacional que se encontra em circulação cultural e que se refere a uma obra específica, o seriado True Blood. A análise buscou explorar as estratégias de criação de extensões a partir de suas relações com o texto principal, sendo dividida conforme as duas macro-categorias de extensões transmídia (as paratextuais e as ficcionais) e examinando organicamente as criações oriundas de ambas as instâncias produtivas. As extensões paratextuais foram analisadas conforme as categorias de: antecipação, recuperação, remixagem e contexto de produção. As extensões ficcionais foram analisadas a partir das estratégias de alargamento do mundo ficcional do texto principal, que são: continuação de histórias, construção de mundo, construção de personagens, backstories (histórias do passado), histórias alternativas, e, por fim, jogos. Ao fim, foi possível identificar as semelhanças e diferenças dos produtos oriundos das empresas e dos fãs, compreendendo as finalidades estratégicas que elas cumprem no ínterim do universo transmídia de True Blood. / This doctoral dissertation aimed to explore, both theoretically and methodologically, a phenomenon of contemporary communication: the transmedialisation processes around television fictions within the context of creation and consumption in the American television market. We refer to transmedialisation processes as the creative strategies and practices that make a single-media content – the television series in our case study – travel across various media and platforms. It refers to the creation of artifacts that link themselves to a reference text, making it migrate to another media while simultaneously broaden its scope of meanings. Our main goal was to analyze what we called the transmedia universe of True Blood: the texts, paratextos and fictional extensions, placed in multiple media and platforms, using various formats and languages, and being produced by both the media industry organizations and fans organizations. We argue that these pieces compose the complex communicational entanglement which is in broad cultural circulation and refers to an specific artwork, the television series True Blood. The analysis aimed to explore the creation strategies of transmedia extensions through their relations to the main text, divided by two major categories of extensions (paratextual and fictional) and examining organically the creations that came from both productive instances. The paratextual extensions are analyzed according the categories of: anticipation, recuperation, remixing, and production context. The fictional extensions are analyzed through their strategies of enlarging the storyworld of the main text, which are: continuation of stories, worldbuilding, characters construction, backstories, alternate stories, and games. By the end, it was possible to identify the similarities and differences of products originated from the industries and the fans, understanding the strategical purposes that they fulfill inside the transmedia universe of True Blood.

The author seeks to compare the Chinese and English editions of Wu Zhuoliu’s (1900-1976) Orphan of Asia (1956). Through the analysis of several characters and the political ambiguity within the text, the author first attempts to compare the two target translations of the original Japanese text. In addition to the close reading of the novel(s), the author employs paratextual analysis of the Chinese and English versions of the story in order to challenge the publishing practices of translation. The re-reading of translations thus includes an investigation of the content of the story as well as the packaging of the text. The objectives of this project include adding to the research completed on Wu’s canonical text, in translation studies, and in paratextual studies.

The author seeks to compare the Chinese and English editions of Wu Zhuoliu’s (1900-1976) Orphan of Asia (1956). Through the analysis of several characters and the political ambiguity within the text, the author first attempts to compare the two target translations of the original Japanese text. In addition to the close reading of the novel(s), the author employs paratextual analysis of the Chinese and English versions of the story in order to challenge the publishing practices of translation. The re-reading of translations thus includes an investigation of the content of the story as well as the packaging of the text. The objectives of this project include adding to the research completed on Wu’s canonical text, in translation studies, and in paratextual studies.

No description available.